• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.

• (The) Research of the performance art and culture
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• no.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.